Between crisis, opportunity, and transformation: renewing the professional identities of the art-house film organizational field. The case of the Festival de Cannes

Grégoire Lacoste ()
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Grégoire Lacoste: DOORS [Cerege] - Dynamiques Organisationnelles, Outils, Régulation, Société [Équipe du Cerege] - CEREGE [Poitiers] - Centre de recherche en gestion - UP - Université de Poitiers = University of Poitiers

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Abstract: Cinema plays a role in cultural industries (Caves, 2000) and constitutes a singular form of creative work (Menger, 2009). The creative professions of filmmaking rely on specific dynamic capacities (Teece, 1997), that are difficult to characterize, since the sources of inspiration and action can be diverse; at the same time, cinematographers operate systematically through project management (Brechet and Desreumaux, 2004). Nevertheless, the collective nature of the profession, and its technical and artistic specificities, mean that cinema professions are totally different from other creative professions. There are many different trades and professional identities, even though the term "artist" is relatively generic. While every artist is part of a network of peers, the dimensions that make it possible to grasp professional identities need to be specified according to the nature of the artistic activity. Whether individual or collective, each artistic discipline has its own methods, work process, economic circuits, and distribution channels.

Keywords: Paradox Management; Cinema; Strategic management (search for similar items in EconPapers)
Date: 2024-06-22
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Published in AIMAC Lisbonne 2024, Université de Lisbonne; AIMAC, Jun 2024, Lisbonne, Portugal

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